Editorial: The Music and the Magic of the Night

When David Bowie died in January, there was a mass outpouring of emotion. Fans around the world shared memories, re-watched his movies, and listened to their favorite Bowie songs. The international media machine dug up stories about his life and influence. Bowie was, and still is, an icon representing a form of transgressive pop culture. Through that work, he pushed boundaries into the fantastic and was fully embraced for his oddity.

Column: To Make the Voice of the Criminal Audible

Jean Genet’s text “The Criminal Child,” previously unavailable in English, was translated and published in December 2015. An anonymous commentary on the text, included as an afterword within the same pamphlet, reads “The Criminal Child” as an intricately coded set of instructions for magical initiation and ordeal. “The Criminal Child” was originally written in 1948 as a speech to be read on a radio show in order to address reforms to France’s youth prisons that had been proposed at the time. It was rejected and never read on the air. When Genet published the censored text the following year, he wrote in his introduction, “I would have liked to make the voice of the criminal audible.